Patrick Miller...won the audience’s empathy for his convincing portrayal of Cavaradossi. Miller was especially radiant on his solo hymn to liberty in the second act and in the Act III tenor aria E lucevan le stelle, in which his acting, combined with clarity and beauty of voice, conveyed all the anguish of remembered first love.
- Abel Searor, Syracuse Post-Standard
JENIK, The Bartered Bride
Soprano Jennifer Aylmer (Marenka) and tenor Patrick Miller (Jenik) played our determined lovers, singing and playing with style.
- Boston Herald
Tenor Patrick Miller, in his company debut as Jeník, Mařenka's true love, was completely winning — boyish without being over-cute — and a perfect complement to Aylmer in their duets together.
- Opera News
Patrick Miller's Opera Boston debut was hopeful, his Jeník was perfectly charming. His Act II aria was certainly a highlight of the evening.
- The Opera Tattler
Jennifer Aylmer and Patrick Miller were fantastic.
- The Boston Musical Intelligencer
LENSKY, Eugene Onegin
Miller has a strong, commanding tenor voice. It is clear and seemingly effortlessly produced.
- Walt Amacker, Richmond Times-Dispatch
Tenor Patrick Miller was the impassioned Lensky, his voice bright and full of ardor. One of the evening's high points was his soulful aria...one of those operatic moments when time seems to stand still. Miller caught the mood of this moment perfectly.
-Paul Sayegh, The Virginian-Pilot
Patrick Miller is outstanding as Lenski. He has a beautiful, rich tenor voice, making anything he sings a joy to listen to.
-Lucia Anderson, The Fredericksburg Free Lance-Star
Tenor Patrick Miller is characterful and in excellent voice as the romantic poet Lensky.
-Clark Bustard, Virginia Classical Music On-line
Tenor Patrick Miller created a boyish Lensky and was particularly convincing in the poet's signature aria.
-T.L. Ponick, The Washington Times
Miller...portrays Lensky with a raw honesty that will bring the viewer to absolute tears. In fact, his performance of Lensky's aria at the beginning of Act two is a magnificent centerpiece to the entire production. His voice is rich, effortless and with a tibre clear and serene throughout the opera.
- Stephen Mason, OnHamptonRoads.com
Possessing a fine, mellow timbre, tenor Patrick Miller was ideal as the passionate poet Lenksy. His intonation was impeccable and his palette of tonal color was resourcefully deployed. He conveyed all the tragic pathos in his arioso before the duel.
- William Thomas Walker, Classical Voice of North Carolina
It was a delight to hear tenor Patrick Miller again. Miller brings his good looks and strong stage presence back to Virginia Opera as Onegin’s friend Lensky...the lyric voice was warmed and ready for the technical and emotional demands of Lensky’s Aria.
-B.J. Atkinson, Port Folio Weekly Magazine
Tatiana, sung by Veronica Mitina, partnered with her real-life love, Patrick Miller as the poet Lensky are two beautiful people with soaring vocal abilities who sing to the heart and soul.
-Edgar Loessin, WHRO Radio Norfolk
SAM POLK, Susannah
Patrick Miller was a vivid presence, in voice and gesture, as Sam Polk, achieving a quiet eloquence in the closing scene of Act I as he delivered the opera's fundamental, ever-chilling message - Opera News Online
Patrick Miller brings real complexity to Sam, the gruff and good-hearted brother... - Mark Estren, The Washington Post
Patrick Miller, as Susannah’s misunderstood brother Sam, sang with clarity and lyricism. He showed great compassion for his sister’s plight, and sang with the highest level of beauty and dramatic import in It must make the good Lord sad. - Portfolio Weekly Magazine
This aria is what the opera is about and the excellent Patrick Miller gives it a memorable rendition. -Edgar Loessin, WHRO radio, Norfolk
Patrick Miller as Sam...was vocally outstanding. -The Virginia Gazette
ALFREDO, La Traviata:
Patrick Miller showed more moxie in his portrayal of Alfredo. He projected a sturdy, virile, attractive voice, youthful but substantial. More important, he used his voice to etch his character- most notably in the second scene of Act II, where his clipped articulation and edgy, slightly cold vocal color effectively conveyed Alfredo’s feeling of betrayal.
- San Antonio Express-News
TAMINO, Die Zauberflöte:
[Patrick Miller] sings with a hint of the heavens in his voice, investing the hero with a softness and strength that should make an audience member want to reach out and touch his hand.
- Minneapolis Star-Tribune
[Patrick] was undaunted by the challenges of Mozart’s music. No matter how it soared, his gleam and security let Tamino’s ardor shine through.
- Orlando Sentinel
NANKI-POO, The Mikado
Patrick Miller's Nanki-Poo has a pleasant tenor and winning manner.
- Scott Cantrell, The Dallas Morning News
Patrick Miller's tenor served Nanki-Poo well, and he made the most of his outrageous street-musician get-ups.
- Opera News
Patrick Miller lent his boyish energy and lilting lyric tenor with consistent grace to the role of Nanki-Poo, the royal son with a justifiable wanderlust ...
- Indianapolis Star
Possessing both vocal and comic prowess...was the lyrical-voiced tenor Patrick Miller as the affable Nanki-Poo.
- Indianapolis Examiner
Tenor Patrick Miller is a fine Nanki-Poo, adding just the right touch of Elvis...without over-doing the gag. He has a solid, ringing voice, which serves him well.
- KDHX-FM radio, St. Louis
Tenor Patrick Miller was a likeable Nanki-Poo; he and Jolly made a cute couple.
- Saint Louis Post-Dispatch
Patrick Miller is smooth as Nanki-Poo.
- St. Louis Riverfront Times
Patrick Miller...delivered some fine high notes.
Nanki-Poo [was] sung and acted admirably by Patrick Miller.
- Arizona Daily Star
Patrick Miller was a handsome Nanki-Poo who sang with a robust, luminous sound.
- Music & Vision Magazine
Patrick Miller displayed a fine tenor as Nanki-Poo.
- Green Valley News
OLIVER BROWN, John Brown
Tenor Patrick Miller was sweet-voiced and sincere as Brown's son Ollie.
-Sarah Bryan Miller, St. Louis Post-Dispatch
Son Oliver Brown, movingly sung by tenor Patrick Miller...
-Wes Blomster, Opera Today
DON OTTAVIO, Don Giovanni
Patrick Miller never tried to make Don Ottavio anything other than the decent, caring guy that he is, creating a portrait of affecting sincerity, warmth and ardor.
- Opera News
[Patrick Miller] was engaging as the ever-difficult [Don Ottavio].
- R.M. Campbell, Seattle Post-Intelligencer
DUKE of MANTUA, Rigoletto (scenes in concert with the Lyric Opera of Chicago):
Miller sang 'Questa o quella': the aria in Verdi's Rigoletto in which the handsome Duke of Mantua cheerfully describes himself as a ruthless seducer. Miller looked the part and sang the aria, with its soaring top notes, as
effortlessly as if he were standing in his shower stall.
- William Murray, from his 2005 book Fortissimo
DINO (The Groom), A Wedding:
The tenor Patrick Miller and the soprano Anna Christy make a bright-voiced and handsome couple as Dino and "Muffin."
- Anthony Tommasini, The New York Times
ARTURO, Lucia di Lammermoor:
Patrick Miller was a sympathetic Arturo.
- Wynne Delacoma, Chicago Sun-Times
Another one to watch is young tenor Patrick Miller as Arturo, who in his small part, gave a hint of a lovely lyric voice.
- Classical 96.3 fm, Toronto
DON RAMIRO, La Cenerentola:
Physically, he’s a prince right out of central casting, with a jawline that could cut granite. But he’s not just a pretty face. His voice has astonishing power; it rolls off the stage like molten silver…and he keeps it in perfect control.
- Fargo-Moorhead Forum